AVReviews

This time, we got our hands on one of the most unique amplifiers on the market—the MAVIS M-100. It’s such a distinctive piece of gear that even we had a hard time defining exactly what it is. So what makes it so special? Let’s find out.

We would like to thank Vivaldi Audio, the official importer of the MAVIS brand in Israel, for providing us with this product for review.

Bottom Line

About MAVIS

We’ve shared a detailed overview of the MAVIS and ThivanLabs brands in the article (in Hebrew) we wrote about our visit to Vivaldi Audio, the official importer of ThivanLabs in Israel.

Here’s a quick reminder: ThivanLabs is a high-end audio company from Vietnam, which began its journey in the early 2000s, although the brand was officially launched only in 2010. The company produces complete audio systems, including speakers, amplifiers, DACs, and music servers. Each of their products reflects a unique approach and a clear design philosophy. In the speaker domain, the company offers a variety of configurations, including open baffle, 2-way, and 3-way speakers. Despite the variety, there are still common threads, mainly in the use of large woofers and horn tweeters.

As for amplification, the company’s core belief is in tube amplifiers in a Class A Single Ended configuration, with high power output, hand-soldered point-to-point connections, and zero feedback.

Alongside its ThivanLabs brand, the company also has another line called MAVIS. While ThivanLabs products—especially in the amplification category—tend to target a very specific audience, MAVIS is aimed at a broader market and comes with more accessible pricing. MAVIS amplifiers follow the popular hybrid configuration, meaning a tube preamp stage combined with a solid-state power amplifier. In addition, the brand also offers a few DAC models, music servers, and speakers that pair well with their amplification products.

Under Test: MAVIS M-100

The MAVIS M-100 is the flagship amplifier in MAVIS's Master series, sitting above the entry-level M-40 and the midrange MAVIS M-60, which we reviewed last year. At the end of that year, we awarded the M-60 with two honors: 2024 Hybrid Amplifier of the Year and 2024 Audio Surprise of the Year (our full review of the MAVIS M-60 – in Hebrew). The series also includes the M-90.

Unlike the M-40, M-60, and M-90 models—which are all integrated hybrid amplifiers—the MAVIS M-100 is a different kind of product, and as mentioned, a unique one. It comes in two separate enclosures. One chassis contains the preamp section and a power amplifier for the right speaker. The second chassis houses the connection for the left speaker and a proprietary link to the first unit. In essence, the first enclosure is an integrated amplifier that includes a monoblock amplifier for one channel, while the second enclosure is an additional monoblock, uniquely fed by the preamp section located in the first unit. Each enclosure has its own dedicated power connection. This is an original and distinctive design—I don’t recall seeing anything quite like it from any other manufacturer.

The cable that connects the two enclosures is a special proprietary cable made by the company, supplied at a length of one meter. A longer, two-meter version is available for an additional cost, but according to the distributor, the one-meter length offers the best sound performance.

I asked the company owners about the reasoning behind this unique design, and the answer I received was that the concept is to offer a more compact alternative to a full system comprising a separate preamplifier and two monoblocks—while minimizing any compromise in sound quality.

Like the MAVIS M-60 and the rest of the series, the design of the MAVIS M-100 is based on a hybrid topology, where the preamplifier stage (input and drive) is tube-based in a Single-Ended Class A configuration. The power amplification stage (found in both enclosures) is fully balanced and uses MOSFET transistors and an output transformer. Between the drive stage and the power stage, there is an additional transformer known as the Interstage transformer. The tube complement in the M-100 includes two 12AU7 tubes and two EL84 tubes.

Here is the circuit description as presented on the MAVIS website:

The amplification topology is Class A/B with a high bias toward Class A. The MAVIS M-100 delivers 120W into 8 ohms, with the first 40W operating in pure Class A, and 160W into 4 ohms, with the first 60W in Class A. This means that for most listening levels and with most speakers, the amplifier effectively operates in full Class A mode.

Another key design element in the MAVIS M-100 (as in all MAVIS models) is the zero-feedback architecture. According to the company, this approach preserves the natural character and emotional expression of the sound as much as possible.

The M-100 is hand-assembled using point-to-point wiring, without any integrated circuit boards.

Like the M-60, the MAVIS M-100 also features a modular design. By default, it is an analog-only amplifier with two RCA inputs and one balanced XLR input. Optional modules for a DAC and a phono stage are available at an additional cost. The unit we received for review was the standard version without the optional modules.

Another feature shared by both the M-60 and M-100 is the inclusion of two switches that allow users to tailor the amplifier’s sonic character.

The first switch lets you choose between two bass modes: Soft and Strong. According to the company, the Soft Bass mode is suitable for music focused on vocals, softer arrangements, and pieces without drums. In contrast, the Strong mode delivers deeper, more powerful bass, ideal for grander music styles, such as epic soundtracks or large-scale symphonic works.

The second switch offers a choice between Standard and High Dynamic modes. The company explains that Standard suits most types of music, while High Dynamic is better suited for energetic genres like rock, or for cinematic soundtracks.

Each chassis of the MAVIS M-100 measures 45 cm wide, 35 cm deep, and 22 cm high. The unit housing the preamp section weighs 32 kg, while the second chassis—housing only the monoblock power stage—weighs 30 kg.

Design and Build Quality

In terms of design, the MAVIS M-100 clearly continues the same aesthetic line as the MAVIS M-60. In fact, the chassis that houses the preamplifier section looks nearly identical to that of the M-60, aside from the model designation printed on the front.

The chassis features a black finish with a low level of gloss—subtle enough to minimize reflections, yet still challenging when it comes to photographing the amplifier. The front panel is divided into three sections: on the left and right sides are fairly large analog VU meters, while the center houses a transparent window that reveals the tubes inside. Above the tubes, there's a label displaying the MAVIS logo.

Below the window are two classic knobs—one for volume control and the other for input selection. Next to each knob are switches used to toggle between the different sound modes mentioned earlier.

When the amplifier is powered on, the tubes glow with a warm red hue, and the VU meters are backlit in orange. This highlights the amp’s retro-classic design and creates a pleasant, romantic ambiance.

The second chassis features a much simpler design, as is typical for monoblock amplifiers. Its front panel is also divided into three sections, but all are finished in smooth, black paint. The center section displays the model name at the bottom and a matching MAVIS badge at the top. When the amplifier is powered on, a small red LED light glows in the center.

If you’d like to further emphasize the retro design of the MAVIS M-100, there’s an option to add magnetic side panels. These are available in two wood finishes: walnut or ebony. We received a pair in the walnut wood finish.

Both chassis sit on fairly large isolation feet, which provide proper decoupling from the surface the amplifier rests on.

In terms of build quality, the heavy weight and hand-built construction reflect the high standards and serious approach of the company’s products. The finish is both high-quality and visually impressive. At the same time, there's a very practical and industrial design philosophy at play—for example, all the panels except the front one have visible screws.

Usability

Let's start with the initial setup. The special cable that connects the two units is easy to attach. While I understand the reasoning behind the short length of the cable—intended to ensure high-quality, interference-free signal transmission—I find it slightly limiting when it comes to placing each amplifier as close as possible to the speakers, which is usually the recommendation with monoblock designs.

Another factor that could make placement a bit more challenging is that the unit containing the preamp must be connected to the right speaker. So, if your source components are located on the left side (as in my case), you’ll need longer interconnect cables.

Both units are powered on using a large red switch located at the bottom center of each amplifier. This switch is somewhat big and clunky, and I personally would have preferred a more refined design and perhaps a more convenient location. Additionally, if the MAVIS M-100 is meant to be treated as a single integrated product made up of two units, it would have been nice if a single switch could power both on and off, rather than needing to operate each one separately.

Once both amplifier units are powered on, the control experience is straightforward and user-friendly. You simply select the desired input, adjust the volume, and if needed, fine-tune the sound character using the two front panel switches—then you're ready to start listening.

The MAVIS M-100 comes with a small plastic "clicker"-style remote that controls only the main function: volume adjustment. There’s an option to upgrade to a full-sized metal remote, which also includes volume control as its sole function.

Personally, I appreciate MAVIS's approach to offering optional cosmetic upgrades. It’s clear that the company aims to make its products as accessible as possible by focusing on delivering the best value in terms of reliability, build quality, and sound performance. If a customer wants a few aesthetic enhancements, the company provides those options—without forcing all consumers to pay for them. To me, that’s a commendable approach. The same philosophy extends to the optional DAC and phono modules, which are available only to those who actually need them.

The Listening Test

For the listening test of the MAVIS M-100, I used my personal system, which includes the YG Acoustics Carmel 2 speakers, the MSB Discrete DAC with two external power supplies, and the Nagra Streamer as the source. Since my own XLR cable was too short to reach the M-100, I borrowed a longer one from Shimon, the owner of Vivaldi Audio. The cable was from No Nonsense Cables, which used to be Vivaldi Audio’s in-house brand but is no longer being marketed at this stage.

First Impression

The unit I received was a showroom model, so there was no need for an extended burn-in process. The experience I had while listening to the MAVIS M-60 last year was still fresh in my memory—I clearly recall sitting down with with my notebook to take notes, and by the end of the evening, I had written nothing but the title. The sound was so moving and engaging that it completely drew me in. This time, I knew better what to expect. On the first evening, I returned home late and only intended to verify that everything was connected properly and playing well, just to be ready for a focused listening session the next day. And yet, I found myself swept into an hour-long listening session that already taught me a lot about the M-100's capabilities, as well as its differences compared to the M-60.

Although I didn’t do a direct comparison between the two amplifiers, three characteristics of the M-100's sound immediately stood out to me—traits I don’t recall experiencing with the M-60.

The first was power. The M-100’s ability to drive my YG speakers was significantly more impressive—not only compared to the M-60 but also relative to most amplifiers I’ve had in my system. There was an overwhelming sense of effortlessness. It’s a sensation I usually associate with far more efficient speakers, and yet the M-100 made my YGs sound as if they had far higher sensitivity. This translated into a more open, extremely natural sound that seemed to pass through the speakers with remarkable ease.

The next two traits are somewhat interrelated. First, the noise floor was exceptionally low. Second, the channel separation was of an unusually high level. The low noise floor is easier to describe—it enables enhanced dynamics and the ability to perceive detail even in the quietest moments. Channel separation, on the other hand, is a bit harder to explain—it’s something you feel. A cleaner transmission, clearer spatial positioning of elements in the soundstage, and a more natural presentation. Each channel here is powered by its own dedicated supply, and that clearly makes a significant, audible difference. Together, these two qualities contribute to a wonderful sense of purity, air, and naturalness.

Sound Examples

So, after noticing the prominent features of power and separation on the first night, in the subsequent evenings spent with the MAVIS M-100, I wanted to test whether, alongside these traits, it could maintain the qualities I found so exciting in the MAVIS M-60. How does the M-100 handle music from various genres, and are there any weaknesses in its sound? To ensure I was listening to the optimal performance of the M-100, I made sure to turn it on an hour before starting my listening session.

I had described the sound of the MAVIS M-60 as warm, especially moving, with excellent vocal separation, and a smooth, natural feel. At first glance, the M-100 is an amplifier from the same series, so it should, in theory, maintain the same sound profile. In reality, however, there are often differences even between amplifiers from the same series, and sometimes, as power increases, certain traits may be sacrificed, or the character may change. In my opinion, MAVIS has succeeded tremendously in preserving all the magic of the M-60 and only improved upon it.

Perhaps the genre in which the MAVIS M-100 excels the most is emotional music, thanks to its wonderful vocal reproduction and warmth. This is music you simply can't stop listening to through the M-100. In moving ballads like Looks Like The End Of The Road by Alison Krauss, from the new album Arcadia, I experienced fantastic dynamics with a very quiet black background. The guitar seemed to emerge from nowhere due to the low noise floor, the vocals were centered, clear, and delivered with immense emotion. The amplifier's power was clearly evident, as it only needed a fraction of the full volume to fill my listening space with big, clean sound. For this track, I also tested the different sound modes. While the High Dynamic mode did add a bit more dynamics, like with the MAVIS M-60, I found the Standard and Soft Bass modes to be the most exciting, warm, natural, and pleasant combination, even with the M-100.

The performance in ballads like these was so good that I just wanted to keep listening to more of them, so I also played The Human Heart by one of my favorite singers, Sophie Zelmani, from her new album Lake Geneva. This track features a blend of electric and acoustic guitars. While the electric guitar sounds full, warm, and caressing, the acoustic one sounds delicate and soft. There's excellent instrument separation, along with centered vocals and superb dynamics and micro-dynamics, creating a calm and smooth presentation.

I had a similar result with Sting's ballad Practical Arrangement. The vocal presentation in this track was top-notch, with a sense of complete separation from the rest of the music, which gently envelops Sting's voice along with a warm, pleasant bass. The level of detail in Sting's voice was incredibly moving.

Another impressive feature of the MAVIS M-100 became clear when I switched to rock tracks, such as the ballad Riverflame by Jonathan Hultén from the album Eyes of the Living Night. First and foremost, there’s incredible and precise dynamics, along with micro-dynamics that allow you to clearly hear even the smallest changes in Jonathan's vocal intensity. The feature that impressed me most here is the M-100’s ability to scale or create a sense of sound proportion. When there's a passage of only keyboards in the track, the sound is small, and the keyboards are the only ones present on stage. Moments later, the vocals and other instruments return, and the soundstage grows enormous. This transition from small to large sound is executed with impressive immediacy and naturalness.

Similarly, in the track Future Is a Child by the British rock band Mostly Autumn from the album Seawater, I experienced this dramatic shift in sound size, from a precise, warm, and small guitar solo to dramatic rises and impressive bursts. Again, there was excellent vocal separation, and both the male and female vocals were transferred naturally. In this track, I also tested the M-100’s performance at very low volumes. Of course, the soundstage shrinks, but there’s good preservation of dynamics, so this is an amplifier that plays well at low volumes. However, I feel that you won't be able to resist and will want to turn it up to at least a medium level.

From here, I moved on to two instrumental pieces, which revealed perhaps the only criticism I have towards the sound of the MAVIS M-100. In the title track from the album Old Style by guitarist Estas Tonne, I received a wide, enveloping soundstage, with a homogeneous feel to the guitar, spread across the entire stage, creating a meaty and pleasing sound. However, if I’m being very critical, I noticed in this track that the high frequencies in Estas’s guitar were slightly rounded and too soft for my liking, and I felt that just a little sharpness was missing. A similar phenomenon occurred with another string instrument, Angèle Dubeau's violin in the track Human from the album Immersion. Here, the violin’s transfer was powerful, and you could feel the entire orchestra positioned behind Angèle. It was a presentation full of emotion, but again, I sensed a slight tendency to round off the violin’s highs too much. I feel comfortable pointing out these criticisms because no product is perfect, and every sound profile is a choice. The MAVIS M-100 is such an excellent amplifier that its sound signature complements almost every piece I tested, and to find any flaw at all, I had to delve into these fine details.

I played many more instrumental tracks through the MAVIS M-100, including jazz and blues. For example, Heavy Drops by Adam Ben Ezra (from the album of the same name) was wonderfully transmitted, with the energetic nature of the piece coming through perfectly. There were layers of depth across the soundstage, with a warm and pleasant wrap of the bass, along with clean, dynamic transfer.

In Essência by Portuguese trumpeter and vocalist Jéssica Pina (from the album of the same name), the level of detail on the bass was fantastic, and there was a precise transfer of small effects. The trumpet was conveyed dynamically, smoothly, and emotionally. The transfer of the drums showcased the MAVIS M-100's ability to deliver tight, precise bass alongside warmth, even when these are often contradictory qualities.

Another piece where the M-100 managed to convey seemingly opposing characteristics was Blurred, a guitar track by Swiss guitarist Noah Beatz. Here, alongside the large sound and dynamics, the presentation was powerful and soft at the same time.

A genre I haven't mentioned yet is electronic music, and the piece I chose this time was Intervals by Boris Blank. In this track as well, the MAVIS M-100 proved to be quite the chameleon. The transfer of this piece through the M-100 included tight and precise effects, excellent control of the soundstage, and especially an impressive center. Some of the effects were placed right in the center of the stage. While there is a slight pleasant softening, it does not interfere at all with the dynamics, detail, or separation, resulting in a clean, effortless, and impressive transfer.

To conclude the test, I had to return to another one of my favorite tracks, a particularly moving ballad. It's one of the performances that always manages to touch me: John Martyn's rendition of Glory Box. It's been a long time since I've heard this piece with such power and dynamics. The separation of the vocal, as throughout the entire test, was superb, alongside the clarity and warmth. The result was deeply moving, and it was a wonderful way to wrap up the test.

?Value for Money: Are Two Better Than One

Does the unique design of the MAVIS M-100 – two separate units with independent power supplies – contribute to superior performance? In my view, the answer is a resounding yes. The clarity, separation, and power offered by this amplifier are exceptional.

Although I tend to prefer integrated amplifiers, as I mentioned in my article (in Hebrew) "The Complete Guide to Integrated Amplifiers, or the Heart of the Modern Audiophile System", and I still believe they are a cost-effective and convenient solution for most consumers, the MAVIS M-100 offers something entirely different: an original setup that includes a preamplifier and two monoblocks, all in a more compact and accessible package – without compromising on sound.

What sets the M-100 apart is not just its performance, but also its price. With most high-end brands, this price barely gets you an integrated amplifier – here, you’re getting a complete amplification system. In other words, it’s an exceptional offer in a world where each individual component is usually priced through the roof.

Of course, a system with a preamplifier and two separate monoblocks gives you greater flexibility – the option for different combinations, cable experimentation, and more – but within the price range of the M-100, you'll be hard-pressed to find another solution that even comes close to its level of performance.

Summary

The MAVIS M-100 managed to surprise me, even with my prior familiarity with MAVIS products and exceptionally high expectations. It’s a unique amplifier that combines the advantages of a preamplifier system with monoblocks, but in a more compact and distinctive configuration, consisting of just two units.

The amplifier’s performance is characterized by wonderful clarity, clear channel separation, and an extremely low noise floor. All of these add up to excellent dynamics and a warm, emotional sound – exactly as I remembered from the MAVIS M-60, but here they are upgraded to an even higher level.

One of the key strengths of the MAVIS M-100 is its ability to adapt to a wide range of musical styles – from intimate ballads to rock tracks and even electronic music. It’s a flexible, emotional amplifier, while also being powerful and precise.

When you add to that its elegant retro design and impressive build quality, you get a product that offers exceptional value for its price.

The MAVIS M-100 is one of the most impressive amplifiers I’ve had the pleasure of reviewing in my listening space, and it represents a worthy and innovative alternative to both integrated amplifiers and the complex systems of separate monoblocks with preamps.

Price: 36,000 NIS
Warranty: 2 years (3 months warranty for the tubes)
Importer: Vivaldi Audio

The system I used for the review: 
Speakers: YG Acoustics Carmel 2
DAC: MSB Technology Discrete DAC with 2 external power supplies
Streamer: Nagra Streamer

Cables: 
XLR cable between the DAC and Amp: No Nonsense Cables
Coaxial cable between the streamer and DAC: Nordost Blue Heaven
Speaker cables: QED XT25

Power:
Power cables for the Streamer and DAC : Nordost Blue Heaven
Power Distribution Block : QBASE QB8 Mark II (to it the Streamer and DAC were connected)
Power cable for the distribution block: Nordost Red Dawn